Absolutely killer 11 track double pack of raw techno missiles from Bari, Italy's hero, DJ Plant Texture. Ultimate club gear that will do total damage anytime, anywhere. No nonsense, committed to the art of music..no false idol worship...just blistering cuts made to mix and send em' into a frenzy. Big tip!
2026 REPRESS
Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.
Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.
Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.
Suburban Architecture are pleased to announce the second release in their 'New Town Dubs' series, following in the footsteps of the now Sold Out 'Architecture Dubs' series. Whereas 'Architecture Dubs' enlisted remixers from Drum & Bass's mid 90s golden era (among them the likes of Peshay, Blame, 4Hero and Ray Keith), 'New Town Dubs' turns its attention to the new breed of producers inspired by the sounds of Drum & Bass and Jungle's foundations.
On the A-Side, a rinsing Amen rework of 2022 roller 'Distant Response' comes courtesy of Law, the name behind the prolific Repertoire imprint. With releases on labels including Silent Force, Rupture and of course Repertoire, Law has been a major player in the Jungle revival sound for over a decade.
Over on the flip, Melbourne based producer Kloke delivers a stripped back rework of 'Rising', taken from this year's 'Vivid' EP. With releases on Future Retro, Hyperdub and Diamond Life, Kloke is a frequent collaborator with Tim Reaper and has collaborated with many of the notable producers and labels representing Jungle's new wave.
Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.
Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!
Following on from the November release of the Material Things / Pike album Rain & Cymbals, 12th Isle enter the new year with a limited vinyl edition of Through Global Frequency, a prescient work of ambient synth, electro-acoustic music and voice recordings by long-standing Dutch multimedia artist Michel Banabila (b. Amsterdam, 1961). Structured around a poem largely composed of titles from recordings he has made over the years, and written during a period marked by new Dutch migration policies, the genocide in Gaza, and the rise of the far right across Europe, Banabila enlists the voices of friends and family, each reciting the poem back to him in their native language. These voice recordings are set within a unique composition that works with the tonality, cadence and rhythm of the vocals, encompassing languages such as Arabic, Spanish, isiZulu, German, French, English, Japanese, Turkish, Ukrainian, and Dutch. Contributions come from Scanner (Robin Rimbaud), Ines Kooli, Sebastian Lee Philipp (Die Wilde Jagd), Yuko Kobayashi, Simone Eleveld, Cengiz Arslanpay and more.
“I felt the need to create something warm, something that embraced diversity. Every voice here is uniquely recognisable and reflects how I know them. I truly enjoyed working with these recordings, focusing on their personalities and the distinctive sound of their languages. For me, making music has always been a way to stay sane, and I have always loved working with voice recordings.”
Music, mix and poem by Michel Banabila,
track 3 featuring Robin Schaeverbeke,
track 8 featuring Cengiz Arslanpay,
track 10 featuring Machinefabriek.
Cello on track 9 by Peter Hollo.
In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
Ckear Vinyl[24,79 €]
Seit ihrer Gründung im Jahr 1988 bewegen sich The Telescopes in einer ganz eigenen Umlaufbahn. Vage zwischen Noise, Space Rock, Dream Pop und Psychedelia verortet, hat die Band um Stephen Lawrie ihre Klanggrenzen stets verschoben und sich konsequent jenseits etablierter Strömungen bewegt. Static Charge ist bereits das 19. Studioalbum der Gruppe und zugleich die achte Veröffentlichung bei Tapete Records - ein weiteres eindrucksvolles Kapitel ihrer rastlosen, genreübergreifenden Geschichte. Nach einer dreimonatigen Tour durch Großbritannien und Europa kehren The Telescopes mit einem kompakten, fokussierten Werk zurück. Sieben Songs, überwiegend live eingespielt, entfalten eine rohe, elektrisierte Energie: primitive Beats, Außenseiterklänge und tief vibrierende Frequenzen verbinden sich zu einem widerständigen Sound, der bewusst gegen die Absurditäten der Gegenwart arbeitet. Aufgenommen und produziert innerhalb von zwei Monaten im hauseigenen Butterfly House Studio in Shropshire, präsentiert sich Static Charge reduziert, direkt und kompromisslos. In der aktuellen Viererbesetzung bündeln The Telescopes ihre Kräfte zu einem Album, das zugleich wuchtig, hypnotisch und erstaunlich konzentriert wirkt - Musik, die nicht gefallen will, sondern nachhallt.
Seit ihrer Gründung im Jahr 1988 bewegen sich The Telescopes in einer ganz eigenen Umlaufbahn. Vage zwischen Noise, Space Rock, Dream Pop und Psychedelia verortet, hat die Band um Stephen Lawrie ihre Klanggrenzen stets verschoben und sich konsequent jenseits etablierter Strömungen bewegt. Static Charge ist bereits das 19. Studioalbum der Gruppe und zugleich die achte Veröffentlichung bei Tapete Records - ein weiteres eindrucksvolles Kapitel ihrer rastlosen, genreübergreifenden Geschichte. Nach einer dreimonatigen Tour durch Großbritannien und Europa kehren The Telescopes mit einem kompakten, fokussierten Werk zurück. Sieben Songs, überwiegend live eingespielt, entfalten eine rohe, elektrisierte Energie: primitive Beats, Außenseiterklänge und tief vibrierende Frequenzen verbinden sich zu einem widerständigen Sound, der bewusst gegen die Absurditäten der Gegenwart arbeitet. Aufgenommen und produziert innerhalb von zwei Monaten im hauseigenen Butterfly House Studio in Shropshire, präsentiert sich Static Charge reduziert, direkt und kompromisslos. In der aktuellen Viererbesetzung bündeln The Telescopes ihre Kräfte zu einem Album, das zugleich wuchtig, hypnotisch und erstaunlich konzentriert wirkt - Musik, die nicht gefallen will, sondern nachhallt.
2026 Repress
One of the leading names in contemporary underground music, Guy J, embarks on a new journey. As a dedicated futurist and sound enthusiast who pushes boundaries akin to science fiction, Guy delivers the first track on his new label with an abstract vision of the layered future of sound. This 15-minute preview of Guy J's forward-thinking, innovative work indicates a promising future for his label. Experience the birth and transformation of a new era in sound from day one!
Every beginning carries excitement and unpredictability, requiring something extraordinary. Whether rooted in creationism, biblical narratives, or the Big Bang Theory, both theological and scientific origin stories resonate with events echoing millions of years into the future. One of the leading names in contemporary underground music, Guy J, embarks on a new journey. As a dedicated futurist and sound enthusiast who pushes boundaries akin to science fiction, Guy delivers the first track on his new label with an abstract vision of the layered future of sound.
From the opening patterns till the end, A Million Years From Now offers an adventure, blending moments of free-flowing thought with a perfectly engineered audio collage that evokes a spectrum of abstract emotions-from melancholia and psychedelia to breathless excitement and, ultimately, pure euphoria.
The layered creativity transcends realism, leading listeners into a state of trance. The second piece, Just Rain, kicks off with a bass-heavy, pumping kick drum that vibrates speakers on any sound system.
However, Guy J transforms this from a rhythm-based track into a melodic epic. Its power lies in the seamless transitions and manipulation of effects and in the compositional structure that evolves over the eight-minute arrangement. Despite its subtle atmosphere, the melody culminates in an explosion of emotions that stimulate every frequency of the audible sound spectrum.
This 15-minute preview of Guy J's forward-thinking, innovative work indicates a promising future for his label. Experience the birth and transformation of a new era in sound from day one!
2026 Repress
When Guy J launched his new label, Early Morning, it was clear each release would carry his signature intensity. Now, with this third release, Guy J continues to prove that Early Morning is an intimately personal venture.
Comprising nearly 15 minutes of music, the material presents a hypnotic experience through two meticulously crafted tracks. The opener, Silver Lake, showcases the hallmarks of his style, building layer upon layer until the arrangement transforms into a dynamic fusion of deep emotion and unbridled energy. With a controlled balance of musical motifs, frequency shifts, and refined arrangements, the track oscillates between moods, culminating in an exhilarating high made to ignite the dance floor.
The second track, Evo, opens with a melody-infused bassline that nods to the 1980s, interwoven with synths reminiscent of early Frankfurt's electronic scene. Overlaid with vocal elements evoking meditative depth, Guy J uses every technique in his repertoire, shifting unexpectedly between structured sequencing and bursts of psychedelia. The track takes listeners on an immersive, unexpected journey.
This third release from Early Morning solidifies the label's vision, promising a bright future for dance floors worldwide.
ELECTROVISION: Tres temas icónicos de Robert Cosmic, agotados durante años, ahora remasterizados e incluidos en un vinilo. Un nuevo tema, «Door Mir», disponible en vinilo por primera vez.
ELECTROVISION: Three iconic Robert Cosmic tracks, out of print for years, now remastered and included on vinyl. A new track, «Door Mir,» available on vinyl for the first time.
After a longtime interest in the beguiling music of Nathan Dawidowicz, Hell Yeah now hooks up with the leftfield downtempo producer for their second full-length album, FLUFF. The immersive record features three long, winding and mystical soundscapes that blend trance and experimental into spiritual and ritualistic escapes.
Dawidowicz was born in Milan to a Polish-Lithuanian mother and a Cameroonian father, but grew up in an ultra-Orthodox Jewish community in Jerusalem. Because of that, their sound is deeply rooted in childhood experiences playing the piano at religious ceremonies, as well as taking inspiration from their father’s DJing throughout the '80s and '90s. Now based in Berlin, Dawidowicz has explored expression through music on labels like Luspoderosa, where they released their debut solo album, Sanctuary of Ideas.
It was when Calm and David Holmes started playing the epic, 23-minute 'Capricorn Rising Over Jerusalemite Temple' from that album that Hell Yeah founder Marco was encouraged to get in touch with Dawidowicz. A few months later, talk turned to releasing this new album, which comes with artwork by Spain's Alicia Carrera.
'Skeptic Afro Jr.' kicks off and soon sinks you into slinky, ever-evolving rhythms. It's a slowly evolving work of sound where the focus shifts from snaking basslines to lumpy drums, cosmic leads to life-affirming chords. 'Scintilla (Feat. Hannah Schraven)' is a deep and downtempo trip into dub and techno, with undulating drums and exotic melodies that escort you into otherworldly realms of spiritualism. Last of all are 'Deep Fluff' and a hidden track (Feat. Leo Börger), two cinematic explorations of deep space where acoustic frequencies and molten synths rewire your brain and connect you to a higher power.
FLUFF is another deeply personal and inward journey packed with transcendental experiences.
DJ FEEDBACK:
"That's such an outstanding piece of work - played two at the beginning on Saturday. Probably my favourite release of the year so far!" Sean Johnston ALFOS
"this is great! 3rd repeat. It’s so nice" Vladimir Ivkovic
"Just listened to Nathan's record and it really sounds amazing... Probably the best thing you've put out to my ears ;-) I love the way he bridges the sounds of the past with contemporary storytelling, taking you on a very long trip which you never want to leave!" Alexis Le Tan
"yeah Fluff is a wonderful weird one!" Axel Boman
"I love him" David Holmes
With this new chapter, Blackwater Label presents an EP exploring the frontier between ethereal, electronics and sonic horror. Two tracks move like ambiguous presences, evoking atmospheres suspended between dream and nightmare, body and shadow. "Hypnoptera" is a journey through dense textures, oblique frequencies and subtle pulsations that seep into the listener, keeping alive the tension typical of the label's most radical productions. A work that does not seek comfort, but disorientation: a sonic ritual digging into the dark matter of imagination.
The A-side opens with "Gomma", a sonic mass that deforms, viscous and elusive. Gomma moves through dry hits and elastic reverbs, a living organism mutating at each beat. The atmosphere oscillates between tribal and industrial, like a ritual dance seen through distorted lenses. A track that fascinates with its physicality and hypnotic nature, suspended between attraction and unease. "Dulcis in Fungus" descends into a humid and cavernous sonic landscape where sweetness and decay coexist. It layers ethereal drones and underground pulses, creating an environment that feels both organic and alien. The piece develops like the growth of a fungus-silent yet unstoppable, seductive and corrosive at the same time.
LIMITED QUANTITIES TO 100
The 2 Smooth World Vol. 1 Album broadcasts a highly addictive tale of electronic frequencies. A whole universe of musical explorations, ranging from twisted electro to more dubby compositions, beatless ambient ballads, classic house nostalgia - naturally flowing into oceans of acid & bass.
The fourth chapter on Childhood intelligence alternate sub-division corporation “Sunrise Inc.”.
5 Neo-Braindance Artifacts have been discovered, written and produced by “Outer Order” of the Planetary Instinct Alliance. Mystic analogue rhythms and vintage sounds, a vortex of haunted synth landscapes & latin grooves, equipped with heavy SH101 low-end frequencies… intimately resonating with hypnotic melodies & voices. A homage to the past, a generational self-prophecy of a producer with music in their ancestry. Welcome to the sound of intelligence, which is another new sunrise, of a series of endeavors into a common future
UFC is proud to present its tenth release, “Music For A Dreaming Generation”, by R.I.P. Bestia, featuring remixes by Rabbit In The Moon, a mini-album produced between 2022 and 2024, where Analog Hardware and Sampling collide to form “Everything.”
'E.X.P.A.N.S.I.V.E (Ancestral Technologies Mix)' a fusion of Electro and Nu-Skool Breaks under a choral mantle of shamanic psychedelia. 'Music For A Dreaming Generation (Dub Botanical Reaction Mix)' the original version is brutalized and reactivated with the acids of the beloved TD-3, a colliding immersion of frequencies, dreamy pads, and hypnotic melodies filtered through the cherished JP-8080. 'Law 7/2023, of March 28' a humble, reivindicative sonic tribute to animal rights, compressed breaks and charming vocals are guided by a psychedelic melody up to a “Drop” where a monstrous Bassline takes the helm, steering you into an emotionally gravitational State of Dance.
About the remixes, Rabbit in the Moon delivers this legendary Techno-Trance gem 'Music For A Dreaming Generation (Nightowl Mix)' a remix we envision as “a crushing technoid mass” that lifts you up to an epic drop before bringing you back down to the earthly realm.'(Daydream Mix)' in this version, Rabbit in the Moon reimagines the original into a “2-Step Garage” interpretation, a pure Braindance journey, with graceful arrangements fused with epic vocals and mysterious Basslines.
